The morning news. [volume] (Savannah, Ga.) 1887-1900, 1887-06-12
BIRTH OF BURNT CORK.
OLD CHARLEY WHITES STORY OF
THE CALLING.
slim Crow" Rice and His Wonderful
Success-Origin of the Old Virginia
Minstrels, Dumbleton's Serenaders,
and Other Old-TinerS
From The Chicago Ne1rs.

Minstrels, Dumbleton's Serenaders,
and Other Old-Timers.
From the Chicago Ne7rs
No one has done so much TO preserve the
records, record the history, and chronicle
the rise and fall of negro minstrelsy as
Charles T. White, himself an old performer,
a man of great experience, wide observa-
ton, and intelligence. For over forty-five
years he has faithfully kept diary of the
happenings in the world of minstrelsy, re-
corded the formation and disbandment of
companies, the first appearance of every
member, jotted down anecdotes and per-
sonal "reminiscences, and kept account of
those who died or left for some other cali
ing. A reporter is to-day enabled to pre-
sent few of Mr.. Whites personal recol-
lections of the earlier and more important
pioneers i'll this unique line of entertainment
They can be depended upon as accurate, for
they are not dimmed by the mistS of age
and memory, but are transcripts from his
diary made in the early days of burnt-cork
amusement.
CHARLEY WHITES STORY.
"The earliest intimation 1 can find in
which individual negro business was done i'll
character and met with a response of pop
ularity was in Boston, Dec 30, 1890. Rus
sells Boston Gazette contains an advertise
ment of the entire performance. The first
piece was Oronoko, or the Royal Slave
At the end of the second act there is Song
of the Negro Boy in character, and this
was given Mr.. Graupner member of the
old Federal street company. The famous
pantomime of Gil Bias had been intro
duced that Christmas week, and, although
the house was hung with mourning at the
,0f4 h., Al -
Washington such was the applause given to
the Song of the Negro Boy that he had to
bring In his little bench and sing his story
over and over again. In 1915 we hear of
'Pig-Pie' Herbert appearing at the Park
theatre, New York. George Nichols, a
clown, Bob Farrell, Sam Tatnall, Bill Kellar,
Barney Burns, Enom Dickson, Tom Blal1eley,
George w. Dixon, George Rice, Frank
Brown, Charley White, John Sanford, and
other actors and circus people appeared in
negro character, singing the negro melodies
of the day or doing breakdowns ON
platforms in circus rings. John
Smith, Juba and John Diamond, the lat
ter card of Barnum's, also were pop
ular.
The late T. d. Rice linown as Daddy
Rice is the acknowledged father and found
er of the Ethiopian comedy. He at once
filled the bill, and every theatre that he
played in as well, and sustained his success
for thirty yers afterward. Rice was born in
the city of New York May 20, 1908. He
learned the trade of ship-carver, joined
dramatic association, and went to Ken
lucky under the management of n. M.
Ludlow, well-known western actor and
manager. While a member of this com
pany he displayed considerable talent as an
imitator of the negroes in their peculiarities
and eccentricitieS, and was at length an
nouced to make his first appearance in a
negro character in the city of Louisville.
Prior to this, however, he had played both
in New York and in the west many low
comedy parts with success, but not until he
commenced his negro singing and burlesque
operatic performances was he considered of
sufficient note to render his name attrac-
tive In the fall of the year 1882 he made
his Ethiopian debut at the old Bowery
theatre, New York, in the character of Jim
Crow
81 wish was de president OBJ desc United
States.
I'd lick molasses candy, and swing upon de
Wheel about and turn about, an do jes so;
And cherry time l wheel about jump Jim
Crow.
"This character, both on account of its
novelty and the excellence of its representa-
ton, attained a popularity unequaled by
anything of the kind before or since. Rice
during that season is said to have brought
more money into the Bowery treasury than
any other American performer during the
same period of time. After a most sue
cessful career in New York, Boston, Phila-
delphia, and other cities, he visited England
in 1886, and performed with great applause
at the Surrey Nondon) as also in Dublin
and Cork, creating a Juror unprecedented
even in the annals of the British stage, and
almost literally driving for time from the
boards such favorites as Macready, the
Woods, and other distinguished performers.
While in England he married a Miss Glad
stone, the Oldest daughter of q former
manager of the Surrey theatre. He soon
after returned to his native country, appear
ing at Wallack's National theatre of Church
and Leonard streets, New York, on Oct. II,
1887, in his speciality the Virginia Mummy
For many years subsequently Mr.. Rice was
eargerly sought after by the managers and
played as star in nearly every theatre in
the union. His popularity, however, waned
in his latter days, though he appeared,
eliciting much applause, as late as 1854.
Stricken finally with paralysis, his death
occurred after q season of prolonged suffer
ing in the city of his birth Sept. 10, 1860, at
the age of SO.
"Many suppose that negro minstrelsy
originated in the palmy days of Daddy
Rice's existence. That was notso, and Rice
never was associated with a minstrel band.
There was a number of burnt-cork artists,
as alluded TO in the preceding, that were
doing negro speciality acts at various places
in the country-some with the banjo, some
without it, others having for their principal
attraction only some simple negro melody
such as 'Coal-Black Rose, Such Gittin'
Upstairs 'Gumbo CHAT, Sitting on
Rail- Jim Crow and one or two others of
less popularity.
THE FIRST MINSTREL COMPANY.
"It was while Dan Emmett and Frank
Brewer were at the Bowery amphitheater
in December, 1912, that the idea of min
strel company was first put in motion by
the following persons-viZ, Dan Emmett,
Fronk Brewer, Billy Whitlock, and Dick
Pelham, who all Immediately went into
thorough course of rehearsals at the board
ing house of Emmett, 81 Catherine street,
New York. The cause of their organiza-
ton was simply to make up a combination
of negro fun for one night only, which was
expressly for the benefit of Pelham, who at
that time was dancing Between the pieces
at the Chatham theatre. Their rehearsals
were sufficiently encouraging to satisfy them
that they had indeed found novelty. They
STYLED themselves the Virginia minstrels,
made their debut at the aforementioned
place this was early in February, 1873,
and were received with deafening plaudits.
During the same week they played one night
for the benefit of Mr.. John Tryon, then
manager OF the Bowery amphitheater.
Their performance here met with astonish-